Category Archives: Opinion

Why I Like The Top

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Since the Top is not an especially popular character, occasionally I get asked why I like him or people seem to be incredulous that anyone could. I figured it was finally time to write a short essay about it. This isn’t necessarily intended to change other people’s minds about him; of course he has a ton of flaws and I’m well aware he’s not particularly appealing to most people. It’s just an explanation of what I like about him.

I first developed an interest when reading some short biography, which stated to the effect “He taught himself to spin at high speeds, and the spinning increased his intelligence”. Frankly, I was delighted by the sublime ridiculousness of it, and can’t understand why some people consider that aspect of his origin to be a negative thing. I enjoy at least a bit of silliness and light-heartedness in superhero comics, a genre that by definition has some inherent goofiness.

I admire that he’s very much self-made. He taught himself about tops and the physics of rotation, taught himself how to spin, and built all of his own wide-ranging inventions. His genius intellect and psionic powers were unexpected gifts, but also the result of his own achievement (spinning). His repeated escapes from Hell and returns from the dead seem to have been the result of his own cleverness and stubbornness; he decided he wanted to come back, so he went and did it. He has a hell of an ego, but you can see why. Continue reading →

Digital Comics, Wally West, and the Forgotten Gold & Bronze Flash Archives

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I hope today’s release of Flash vol.2 #2-6 on ComiXology signals the beginning of a complete digital release of the Wally West Flash series. This brings the total to 63 issues scattered around the 249-issue series (including #0 and #1,000,000, both already available), mostly from the Waid and Johns runs, but there are still a lot of gaps…and most of the material is out of print.

»Flash comics at ComiXology.

The Mike Baron (#1-14) and William Messner-Loebs (#15-61) runs on The Flash have never been reprinted in trade paperback, and only the highlights of the extensive Mark Waid/Brian Augustyn run (#62-162, minus a year off for Morrison/Millar) have been collected. A lot of that is due to the changing market during the 1990s. When Waid started, collected editions were rare. Vertigo was seeing some success, but the idea that people would shell out for a whole series in graphic novel form hadn’t yet sunk in. (These were the days when studios weren’t sure there was a market for complete TV seasons on home video, either.) By the time Geoff Johns took over the title, DC was collecting full runs of a few high-profile series, but not all, or even most of their books.

Now, of course, everyone expects most comic books will be collected, and waiting for the trade is actually a workable strategy. But it’s not often that DC Comics goes back to fill in the gaps in their library — at least, not in print.

Gold and Bronze

With any luck, digital releases will also be the way we’ll finally get the Bronze Age and the Golden Age re-released. I’ve grumbled on a number of occasions that DC seems to keep reprinting the same early years of the Silver Age every time they come up with a new format, and never seem to get past the early/mid-1960s on Barry Allen’s series. (Even the upcoming Flash Archives vol.6 brings that series up to…1964.)

I’d really like to see more Golden Age Flash Archives. DC has only gotten as far as issue #24 out of 104, and the first super-villain (The Shade, as it turns out) doesn’t appear until #33…but these volumes seem to come out so rarely that I expect to die of old age before DC finishes collecting the series. In print, anyway. This is one of the reasons I went forward with my effort to hunt down the original comics, or at least as many of the key issues as I could find in my price range. Continue reading →

Quick Thoughts: The New 52, Wave 2

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DC has announced the second wave of the New 52, with more details at USA Today. They’ll be adding six new series in May, and dropping six after #8 to keep the total at 52. Update: CBR interviews Bob Harras about the focus of the new books.

First off, I don’t think keeping it at 52 is a great idea, because the first time they change their line-up to feature 51 books, or 52, or anything else, people will read way too much into it.

Anyway, the canceled books:

  • Men of War and Blackhawks. War books are a tough sell these days. No surprise.
  • Mister Terrific. A gamble from the beginning, and the only praise I’ve heard about it is from the skeptic community for portraying an atheist in a positive light.
  • Static Shock. After all the effort DC went to to get Static (the only Milestone character they seemed interested in), what went wrong?
  • Hawk & Dove. The series’ biggest selling point was Rob Liefeld. Make of that what you will.
  • O.M.A.C. This always seemed to me as a — I don’t want to call it a vanity project — but basically, a chance for Dan Didio to have fun writing something. My guess is they didn’t really expect it to sell, but positioned it as an ongoing just in case people liked it.

And the new books, after the cut. Continue reading →

Picking Only Three Comics: New 52/New Year Edition

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A while back I examined my comic book buying patterns by deciding which books I would buy if I could only buy three comics. It’s one thing to name books you’re ready to drop, or to name your favorites. Looking at it in terms of what you’d keep if that was all you could get really forces you to evaluate. It’s also helpful for ranking if, after you pick your top three, you expand it to four, then five, then six, etc.

I asked the question again last year, and found that things had changed a bit (though that was partly because two of my top three comics had been canceled). With the new year, and with the first round of New 52 stories reaching their conclusions, I thought this was a good time to pick up the question again.

So if I could only buy three comics, they would be…

  • The Unwritten – Consistently one of my favorite titles over the last few years, and I wrote about why I like this series for the “Read This Too!” event. It’s been in my top 3 every time.
  • The Flash – It’s been a bumpy road. Last year, “The Road to Flashpoint” squandered all the enthusiasm I’d built up with “The Dastardly Death of the Rogues,” and Flashpoint came close to killing what was left, but the new Francis Manapul/Brian Buccellato series feels like it’s finally getting the book back on track.
  • Lady Mechanika – This steampunk action/adventure mystery was one of my favorites to come out of 2010.

What DC books missed the cut?

Continue reading →

Wayback Wednesday: Keeping Comics on Schedule

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With the New 52, DC Comics is making a point to get all their comics released on time. In recent years, scheduling delays had become a joke, with even high-profile series like Final Crisis shipping weeks or even months late. And let’s not even get started on the Flash schedule from Rebirth through “The Road to Flashpoint,” which changed on an almost-weekly basis.*

A few years back, I wrote about different ways to keep comics on schedule. The solutions I came up with at the time were:

  • Alternating artists with each new storyline. (Batwoman is taking this approach, alternating between J.H. Williams III and Amy Reeder.)
  • Series-of-miniseries with enough lead time that each mini stays on time. (Hellboy and BPRD.)
  • Fill-in artists within a story. (DC’s preferred method on event books.)
  • Fill-in issues. (Back in the Silver Age, this was the standard approach. These days, readers tend to see them as an interruption.)

I go into these in a lot more detail in the original post.

These days, DC seems to be changing creative teams left and right, some for editorial reasons, others now doubt because they’d already fallen behind. That seems a little drastic to me, but I’m sure there are those who would disagree.

My personal preference is still alternating artists per story. With proper planning, it keeps any ongoing arcs moving smoothly, while still preserving a consistent artistic statement within each story. Though I also think planning one-shots ahead of time that can be written or drawn by a guest but still fit into the overall arc has its advantages as well.

How about you? What’s your preferred method of keeping comics on schedule?

*I actually wrote a program to retrieve DC’s listing for upcoming issues of Flash: Rebirth once a day and notify me if the date had changed.

Is “Reboot” The Right Word?

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After fans learned that the DC Universe would be massively revised after Flashpoint, DC insisted that it was a relaunch, not a reboot. But with a complete line-wide new start, with many characters being reimagined and given new backstories, it certainly falls under the conventional meaning of “reboot” as applied to a fictional universe. It’s at least as much of a reboot as the DC Universe that emerged out of Crisis on Infinite Earths in the 1980s.

But I’m not sure the metaphor’s correct. It comes from the idea that when you reboot a computer, you start fresh…except usually when you reboot, you have exactly the same “universe” (the operating system, the apps, the files, etc.) as you had before. That’s not the case with a fictional reboot, which tends to alter the settings, characters, histories, and more.

A better comparison might be an operating system upgrade. Going from Windows XP to Windows Vista, or from Vista to Windows 7. Lots of things change about the way the system works. Some apps are altered. Some stay the same. Some might not be compatible and need to be removed until new versions are available. You might even lose some of your data (or access to it). Some changes are improvements, but there’s always something you wish they’d left alone.

The New 52 fits this metaphor. So does the post-Crisis on Infinite Earths relaunch, which took characters from DC’s Earth-1 and Earth-2 settings, plus the characters they had bought from Charlton, Quality and Fawcett, and merged them all into a single timeline. Some characters were erased (Supergirl), others were changed significantly (Superman, Wonder Woman), some stayed more or less the same (the Flashes’ history was mostly unchanged). Most of Superman’s villains were reimagined and introduced as if they were new.

Smaller retcons, those that affect a single character or team, can be looked at as patches. The John Byrne Doom Patrol, which quietly relaunched the Doom Patrol as if they were new characters, but left the rest of the DCU unchanged. The Time Trapper/Glorith mini-reboot in the “Five Years Later” Legion of Super-Heroes, and the Threeboot Legion.

Really, anything that could be explained by a “Superboy punch” can be treated as a patch.

In between are the events that retcon a bunch of characters across the line, but only change the distant past and behind-the-scenes events. The DC Universe after Zero Hour was very much like the DC Universe after Crisis on Infinite Earths. The DC Universe after Infinite Crisis were very much like the DC Universe after Zero Hour. Zero Hour…aside from the reboot Legion, most of the retroactive changes were details. Infinite Crisis may have set up the return of the multiverse, but it happened in a way that no one in the main universe noticed for over a year. I’d compare these to service packs.

So in a way, DC’s right: it’s not a “reboot.” It’s a reinstall.